RM – serie

Two hundred photobooks across five decades—a raucous, one-of-a-kind tour through Parr's monumental history with the medium.Published with PhotoBook Museum, Cologne.As a photographer, publisher, writer, collector and image editor, with an eye trained on the absurdities of our global consumer and leisure culture, Martin Parr (1952–2025) has been bringing the photobook into the consciousness of contemporary photography since the turn of the millennium, publishing more than 200 books over the course of five decades. Grand Hotel Parr accompanies the first comprehensive photobook retrospective on Parr, organized by the PhotoBookMuseum and the Neues Museum in Cologne, Germany. In an elaborate staging inspired by the appearance of a hotel complex, the titular exhibition invites visitors to explore over 200 of the artist's photobooks. The tour through the various rooms of the hotel, such as the billiard room, the dining room and the fashion boutique, picks up on various themes from Parr's publications, creating a bizarre world that vacillates between ostentation and kitsch. Grand Hotel Parr showcases photographs from this one-of-a-kind exhibition as well as a bevy of essays by scholars and curators who explore Parr's storied history with the medium.

Vicuña applies her poetic sensibilities to her hand-tinted photographs of Santiago street life under the Chilean dictatorshipPublished with Toluca and Fundacion Lariviere.Roaming the streets of 1970s Santiago with a Russian camera in hand, poet-turned-photographer Leonora Vicuña (born 1952) captured its denizens in bars, cinemas and dance halls, hand-coloring and manipulating them to create a dreamlike, imaginary world removed from an austere reality.

"Pedro Páramo is one of the best novels of Spanish-language literature, and even of literature." —Jorge Luis BorgesPublished with Fundación Juan Rulfo.Juan Preciado makes a promise to his dying mother that he will travel to the town of Comala in search of his father, the titular character. Instead, Juan encounters a ghost town that relays to him the fragmented history of his father's cruel and violent life, and how he led Comala to ruin. Though met with an unwelcome critical reception in the years after its publication, Pedro Páramo has ascended into the canon of Mexican literature and magical realism writ large, thanks in no small part to its star-studded list of devotees. Gabriel García Márquez called it "the most beautiful novel ever written in the Spanish language," while Susan Sontag proclaimed: "The goal of every writer's life is to produce one great book—that is, an enduring work—and that is what Rulfo achieved."Commemorating the 70th edition of its original publication, this Spanish-language edition of Pedro Páramo includes unmissable archival material, including more than 100 cover designs from translated editions in over 30 languages. A charming black-and-white postcard of Rulfo placed between the pages provides a glimpse into the character and personality of the "father of magical realism."Juan Rulfo (1917–86) was born in the state of Jalisco, Mexico. The corpus of his narrative work is his short story collection El llano en llamas, his novella El gallo de oro and the novel Pedro Páramo. He was a member of the Mexican Academy of Language. In 1983 he received the Prince of Asturias Award for Literature and in 1985 he was named Doctor honoris causa by the National Autonomous University of Mexico.

Snapshots, recollections and anecdotes from the foremost street photographer of 20th-century SpainThe monograph-cum-memoir of photographer Francesc Català-Roca (1922–98) stands as a testament to the analog era, and as a landmark for street photography in Spain during the Francoist era. Thirty years after its original publication, this new edition includes previously unpublished images alongside Català-Roca's entertaining and spontaneous anecdotes.

An expanded edition of the most comprehensive survey to date on the work of iconic Mexican photographer Graciela IturbidePublished with MAPFRE.Mexico City-born Graciela Iturbide (born 1942) is one of Latin America's most acclaimed photographers and the only Latin American woman to have received the prestigious Hasselblad Award. With a focus on identity, sexuality, festivals, rituals, daily life, death and the roles of women, Iturbide's photographs share visual stories of cultures in constant transitional periods.Featuring over 200 photographs, this expanded edition book comprises one of the most comprehensive explorations of Iturbide's career to date, gathering an impressive and widespread selection of her work, curated by Marta Dahó. It includes some of her best-known images, such as Frida Kahlo's Bedroom (2005), Those Who Live in the Sand (1979) and Juchitán (1979), as well as many lesser-known works. She pays special attention to her most iconic images and offers a cross-sectional journey from her earliest projects to her most recent creations. Over the course of her four-decade career, Iturbide has built up a poetic language of images and symbols; a consistent preoccupation is the juxtaposition between urban and rural life. The subjects of her black-and-white photography mostly reside in Latin America but encompass India, Europe and Asia as well. This volume provides an essential overview of her accomplishments.

A tribute to a leading exponent of Kinetic art, in honor of the centenary of Soto's birthPublished with RGR Gallery .The Venezuelan painter and sculptor Jesús Rafael Soto (1923–2005) is exalted as a pioneer of Kinetic and Op art. Faced with a world in constant movement, Soto responded in kind, employing his knowledge of geometry and negative space to create three-dimensional works that appear to vibrate or shift in space. He worked with unorthodox materials such as nylon, Perspex, steel and industrial paint to attain this destabilizing effect.Published to commemorate the centenary of the artist's birth, The Instability of the Real showcases arresting reproductions of Soto's works, immersing readers in his innovative experiments with movement, perception and space. The volume offers rare insights into his creative processes, the cultural context of his time and his profound impact on the art world, featuring a series of scholarly essays as well as a suite of five interviews with the artist, marking each decade from 1960 to 2000.

Magic, exile and migration weave together in Palau’s pioneering oeuvre, especially in her anti-colonial textile sculptures made from natural materialsPublished with MUAC/Tapies Foundation.Spanish Mexican artist Marta Palau (1934–2022) was one of the first to focus on women’s and immigrants’ experiences in Mexico during the 1970s, especially through her Ilerda series and Nahual sculptures made with local materials.

Eurocentric geometric abstraction meets traditional Indigenous aesthetic in this bold comparison of visual structurePublished with Museo de Arte Contemporáneo de Monterrey and Juan Carlos Maldonado Collection .A radical attempt to compare two incommensurable aesthetic forms, Convergences Divergences pairs Western geometric abstractions with the traditional crafts of the Ye'kwana communities, located in southern Venezuela and northern Brazil.

An intimate reflection on loss, mourning and memory, made manifest through Manenti's spectral black-and-white photographyUpon receiving a large-format camera in 2012, the American photographer Ruth Lauer Manenti (born 1968) at last accessed a poetic sensibility she had first sought within drawing and painting. Her spectral photographs evoke the ephemeral motion of life and the vertiginous memories it impresses. In her new series, 4 Sides of The Table, made from 2022 to 2024, Manenti continues her meditation upon time's passage. The inciting image for this series emerged from an intimate, sorrowful scene: her mother's best friend, June, reading poetry as Manenti's mother lay dying in bed. In the wake of loss, Manenti found within June a maternal replacement. She began photographing June in segmented parts from various angles: hands, legs, front, back, partial views. When June's own daughter unexpectedly died, Manenti, too, became a replacement. Together, Manenti and June document the poignant work of mourning—the effort to preserve the unseen through new material forms.

As urban development erases Al-Max’s daily life and traditions, Mahdy builds a living archive of the neighborhood through its residentsPublished with Trobades Camus.Through photography, community archives, handwritten letters and personal accounts, Mohamed Mahdy (born 1996) follows the residents of Al-Max, a historic fishing neighborhood in Alexandria, Egypt, who are now facing displacement in the face of encroaching urbanization.

“A visual symphony of drawing and painting, delving deeply into the many shades of femininity, sexuality and maternity.” —Erica Silverman, WhitewallPublished with Galería RGR.Mexican artist Magali Lara’s (born 1956) paintings, drawings and collages tinker with the boundaries between image and text, operating in the liminal space between figuration and abstraction. This publication invites a renewed reading of her oeuvre through the sphere of female intimacy.

A collection of never-before-seen photographs from the Manuel Álvarez Bravo Archive that document a storied neighborhood in Mexico CityPublished with Gato Negro Ediciones/Archivo Manuel Álvarez Bravo.The self-taught Mexican photographer Manuel Álvarez Bravo (1902–2002) is widely regarded as a giant of 20th-century photography. Inspired by the Surrealists’ penchant for unexpected relationships found among objects, Bravo’s photographs thematically engage with death and mortality through symbolic images of daily life.Pedregal showcases never-before-published photographs from the Manuel Álvarez Bravo Archive. Twenty years after its founding, the ArcMAB continues to promote new interpretations of its holdings and keeps its doors open to researchers and curators interested in engaging with Bravo’s work. The selection presented here highlights the photographer’s vision of Pedregal, a historic neighborhood in the south of Mexico City. In these images, volcanic stone becomes a territory where memory, modernity and future intertwine, and the monumental coexists with the intimate, revealing the vital force that emerges within a rugged landscape. Supplementing Bravo’s photographs are documentary materials related to the neighborhood’s development and evolution, such as the construction of Ciudad Universitaria. Pedregal, then, presents a view of the territory that is both personal and collective, fantastical and grounded.

A nearly overwhelming mountain of earth, clay and straw, Morelos’ installation is a multisensory encounter evoking a transcendent, embryonic statePublished with MUAC.Traveling from the Museo Universitario Arte Contemporáneo in Mexico City to London’s Barbican Centre, El espacio vientre (The Womb Space) by Colombian artist Delcy Morelos (born 1967) is a monumental earthwork designed to be explored, dissolving lines between subject and object.

Mournful glimpses into the last remaining businesses within a slowly shuttering postmodern mallPhotographer Sebastián Thomas (born 1982) wanders through Santiago’s Pirámide del Sol—a shopping center struggling to maintain its place among other malls—to photograph the lives and occupations of the shopkeepers who still endure within its interior.

With a sober, human-centered gaze, Samsó’s vision of Barcelona invites readers to rediscover the city from its marginsIn his black-and-white photographs, Leopoldo Samsó (born 1946) presents a Barcelona far removed from clichéd postcard imagery. The city is shown as a lived space, shaped by minimal encounters and a quiet coexistence between people and architecture.

Haunted by beauty: a photographic meditation on the phenomenon of cosmetic surgery Published with Ediciones Posibles/Phree/PSV.Chinese photographer Yufan Lu (born 1991) investigates the prevalence of and motivations behind cosmetic surgery through a series of photocollages of convalescing patients. Lu describes her work as “death masks,” halting images stuck between hope and insecurity, determination and sacrifice.

Discover the intellectual and emotional influences behind Barragán’s architectural vision through an unprecedented peek at his personal book collectionPublished with Fundación de Arquitectura Tapatía Luis Barragá/Casa Luis Barragán.This book offers an intimate exploration of the creative universe of Luis Barragán through the lens of his personal library, housed in his home-studio in Mexico City, now the Casa Luis Barragán Museum, considered to be one of his most important buildings. More than a survey of an architect’s work, this volume reveals the inner life of Mexico’s most influential architect and the 1980 Pritzker Prize laureate by tracing the books, authors and ideas that shaped his vision. Barragán was an avid reader who understood books not only as sources of knowledge but as emotional bridges to friends, collaborators and kindred spirits. His library emerges here as a living archive—one that reflects his deep engagement with art, spirituality, landscape and modernity. Moving through this space is to enter a world governed by silence, solitude and serenity: essential values that permeate both his architecture and his way of life. The publication is enriched by a visual essay by acclaimed photographer David Jiménez, whose images capture the subtle interplay of light and shadow, intimacy and stillness, revealing the quiet beauty of the spaces where Barragán fused traditional Mexican architecture with international modernism.Luis Barragán (1902–88) was born in Guadalajara and lived and worked primarily in Mexico City, where he also died. An architect and engineer, Barragán is regarded as the most prominent figure in modern Mexican architecture. His architectural approach embraces the principles of Modernism while remaining deeply rooted in Mexican tradition.

The traditional Spanish ritual, legally regulated for half a millennium, and its path to the llaneros, charros and gauchos of the New WorldManuel Naranjo Martell (born 1988) has spent nearly a decade documenting the traditional roundup of wild mares in Spain’s Doñana National Park. He proposes a visual reading of a shared heritage between the lands of the lower Guadalquivir River and the Americas, united by a profound bond with the horse.

Eamonn Doyle explores recent bodies of work by the Irish photographer (Dublin, 1969). Living in the center of the capital, Doyle photographs his surroundings from unexpected angles, revealing an original vision of the city and its inhabitants. His series i, ON, and End., otherwise known as the Dublin trilogy, with their strategiccropping and framing, convey moments of stillness and frenetic energy, solitude and community. Doyle's newest body of work, K, is his most mysterious and personal.These color photographs show a series of spectral figures of continually shifting form set against the dramatic backgrounds of Ireland's west coast and southwestern Spain.The series referencesthe Irish tradition of keening, a vocal lamentation for the dead, and wasborn in part from the premature losses of the artist's brother and mother. This catalogue accompanies the eponymous exhibition, curated by Niall Sweeney, held at the Fundación MAPFRE's Sala Bárbara de Braganza. It includes texts by Sweeney, Bob Quinn, David Donohoe, and Lisa Godson.

Parting from old photographs, collected with the care given by an ethnographer, Johanna Calle makes what she calls “photographic drawings”.To the tiny, fast gesture that triggered the shot, she adds her own: little by little she erases the elements present in the original image in order to gently raise the signs of an underground story: a landscape allows a musical score to arise, a face gives place to a polyhedron, a series of aerial photographs show how the silhouette of the trees of the primary forest ascends.

El universo Frida Kahlo, published under a joint imprint by Editorial RM and the Museo Frida Kahlo, allows us to refresh and bring up to date the rich diversity of themes, ideas, concepts, and emotions generated around two fundamental and iconic figures in modern Mexico: Frida Kahlo and Diego Rivera.Based on the 2013 edition, sponsored by Bank of America and produced in collaboration with the magazine Vogue México y Latino américa, this new edition gathers a range of essays by specialists on the various subjects it addresses. In addition, more than three hundred images from the archives of the Museo Frida Kahlo offer readers a glimpse of Frida’s wardrobe, the collections of popular and pre-Hispanic she assembled alongside Diego Rivera, the Blue House, her connection with photography, and other matters. This volume welcomes us into Frida Kahlo’s universe, exploring the legacy of an indispensable figure in the world of twentieth-century art and culture.

Segundo de los libros-almanaques de Julio Cortázar, se publicó por primera vez en México en 1969 y fue diseñado por Julio Silva. Cortázar se respondía a sí mismo en una autoentrevista sobre el contenido: “… en Último round hay un ‘Homenaje a Alain Resnais’ que se puede leer permutatoriamente, lo que modifica cada vez el sentido al mismo tiempo que conserva el clima inicial de ‘L’année dernière à Marienbad’. Hay también una despedida a Teodoro W. Adorno, que se ha convertido al catolicismo; hay varios cuentos, largos y cortos, hay una especie de diario de un día de vida en mi aldea provenzal de Saignon. Hay una defensa de Salvador Dalí (¡oh!); hay un examen general de los problemas del erotismo en la expresión literaria latinoamericana; hay un ensayo sobre el cuento breve y sus alrededores, cuestión que me sigue preocupando y sobre la cual no se ha escrito gran cosa. ¿Te bastan esos botones, o necesitás todo el costurero?”This second of Julio Cortázar’s almanac-books was first published in Mexico in 1969 and designed by Julio Silva. In an interview with himself, Cortázar described the contents: “In Último round there is a ‘Homage to Alain Resnais’ which can be read in a permutational fashion, in such a way that its meaning changes even as the initial atmosphere of L’année dernière à Marienbad is preserved. There is also a farewell to Theodor W. Adorno, who has converted to Catholicism; there are several stories, long and short; and there is a sort of diary of a day in my life in the Provençal village of Saignon. There is a defense of Salvador Dalí (ah!); there is a general analysis of the problem of eroticism in Latin American literature; there is an essay on the short story and its surroundings, a subject which continues to preoccupy me and about which not much has been written. Are these samples enough, or do you want the whole sewing basket?”

Published with Museo Frida Kahlo.Cuando Frida Kahlo muere Diego Rivera, marido, ex marido y viudo de Frida, le pide al poeta Carlos Pellicer que convierta la Casa Azul en un museo para que el pueblo de México pueda visitarla y admirar la obra de la artista. Pellicer seleccionó los cuadros de Frida que estaban en la casa, así como algunos dibujos, fotos, libros y cerámicas conservando los espacios tal cual los había adaptado el matrimonio para vivir y trabajar. El resto de los objetos, ropa, documentos, dibujos, cartas y más de seis mil fotografías que Frida reunió a lo largo de su vida, se guardaron en los baños convertidos en bodegas. Este formidable acervo estuvo oculto por más de medio siglo. Hace pocos años decidieron abrir las bodegas, armarios y baúles que lo resguardaban. El conjunto de imágenes fotográficas es un tesoro que desvela los gustos e intereses de la famosa pareja, no sólo en lo que cuentan las imágenes sino también en las anotaciones al margen, y permite especular en torno a sus fobias y atracciones, incluso es posible documentar sus orígenes familiares. La fotografía para Frida siempre estuvo presente, su padre Guillermo Kahlo fue uno de los grandes fotógrafos de principios del siglo XX mexicano, de él conservó algunas imágenes de arquitectura colonial y un buen número de autorretratos. En la colección de Frida hay una lista de grandes fotógrafos: Man Ray, Brassaï, Martin Munkacsi, Pierre Verger, George Hurrel, Tina Modotti, Edward Weston, Manuel y Lola Álvarez Bravo, Gisèle Freund y muchos otros, entre ellos la propia Frida Kahlo. Es probable que ella hiciera varias de las fotos de la colección, aunque estamos seguros de su autoría sólo en unas cuantas que decidió firmar en 1929.When Frida Kahlo dies, Diego Rivera, Frida's husband, ex-husband and widower, asks the poet Carlos Pellicer to turn the Casa Azul into a museum so that the people of Mexico can visit it and admire the artist's work. Pellicer selected Frida's paintings that were in the house, as well as some drawings, photos, books and ceramics, preserving the spaces as the couple had adapted them to live and work. The rest of the objects, clothes, documents, drawings, letters and more than six thousand photographs that Frida collected throughout her life, were kept in the bathrooms converted into cellars. This formidable collection was hidden for more than half a century. A few years ago they decided to open the cellars, cabinets and trunks that protected it. The set of photographic images is a treasure that reveals the tastes and interests of the famous couple, not only in what the images tell but also in the annotations in the margin, and allows speculation about their phobias and attractions, it is even possible to document their family origins. Photography was always present for Frida, her father Guillermo Kahlo was one of the great photographers of the early 20th century in Mexico, of whom she kept some images of colonial architecture and a good number of self-portraits. In Frida's collection there is a list of great photographers: Man Ray, Brassaï, Martin Munkacsi, Pierre Verger, George Hurrel, Tina Modotti, Edward Weston, Manuel and Lola Álvarez Bravo, Gisèle Freund and many others, including Frida Kahlo herself. . It is probable that she took several of the photos in the collection, although we are sure of her authorship only in a few that were closed in 1929.